What Is Object-Oriented Ontology? A Quick-and-Dirty Guide to the Philosophical Movement Sweeping the Art World

Ask yourself: what does your toaster want? How about your dog? Or the bacteria in your gut? What about the pixels on the screen you’re reading off now—how is their day going? In other words, do things, animals, and other non-human entities experience their existence in a way that lies outside our own species-centric definition of consciousness? It’s precisely this questions that the nascent philosophical movement known as Object-Oriented Ontology (arising from ὄντος, the Greek word for "being," and known to the cool kids as OOO) is attempting to answer or at least seriously pose, and they’re setting certain segments of the art world on fire.

On some level, this makes sense. Artists, after all, are people who spend their time investing objects with meaning, so the notion that the objects themselves may have something to say naturally strikes a chord—especially at a time when scientific developments are both giving us a better understanding of animal's minds and inching us closer to authentically intelligent machines. The fruits of this kind of thinking can be found everywhere these days, from when the Argentine artist Eduardo Navarro tried to turn himself into a turtle at last year’s New Museum Triennial, to Pamela Rosenkranz's decision tofill the Swiss Pavilion of the 2015 Venice Biennale with flesh-toned liquid and synthesized baby musk. The odds are, your local Post-Internet art exhibition might contain more than a hint of OOO.

For cutting-edge artists looking to lend their work some conceptual heft, Object-Oriented Ontology has become the faddish successor to such previous intellectual trends as structuralism and postmodern theory. However, in an age of rogue chatbots, dreaming computers, and the Internet of Things, not everybody is so enamored with the so-called “object turn.” For those left scratching their heads at this philosophical proliferation, here’s a quick and dirty guide to this novel movement.

THE WORLD ACCORDING TO OOO

Pamela Rosenkranz's Our Product (2015) at the Venice Biennale

In short, OOO (and its intertwined companion Speculative Realism) is dedicated to exploring the reality, agency, and “private lives” of nonhuman (and nonliving) entities—all of which it considers "objects"—coupled with a rejection of anthropocentric ways of thinking about and acting in the world. One of the movement’s founders, American University in Cairo philosophy professor Graham Harman, defined these objects in ArtReviewas “unified realities—physical or otherwise—that cannot be reduced either downwards to their pieces or upwards to their effects.”

With this understanding, any “thing” is an object, whether living, nonliving, artificial, or conceptual—an everything-plus-the-kitchen sink approach that gives rise to a near-comical overabundance of lists in OOO writings. In his critical review of the philosophy in Artforum, the Princeton professor Andrew Cole somewhat mockingly describes the theory to encompass “aardvarks, baseball, and galaxies; or grilled cheeses, commandos, and Lake Michigan.” For OOO, your skin cells are objects, and so are you, and so is the population of the nation you live in, and so is the very idea of a nation.

The crucial point here is that, in contrast to the dominant strains of 20th-century phenomenology that claim things are only real insofar as they are sensible to a human subject, OOO asserts a radical and imaginative realism that not only claims that things do exist beyond the purview of human conception, but that this existence (defined by Harman as “nothing other than [the] confrontation of an experiencing real object with a sensual one”) is almost entirely inaccessible to our understanding.

It's a brand of materialism that goes hand in hand with what you might call posthumanist egalitarianism, or panpsychism: none of the things you can name can be thought of as intrinsically less real, vital, or important than any other—an ecological viewpoint of existence that rejects any idea of human specialness as simple arrogance. As Harman writes, “The world is not the world as manifest to humans; to think a reality beyond our thinking is not nonsense, but obligatory.”

This idea is closely linked to the OOO rejection of “correlationism,” or the habit we humans have of thinking about things only in terms of the effects they have on us. For OOO adherents, this is a tragically limited worldview that at best precludes our ability to imagine the multiverse of beings, and at worst leads directly to the wanton environmental degradation we witness today. The world according to OOO is one full of beings acting on one another according to their own goals and caprices, motivations that cannot be kenned by others.

ART AS CHARISMA

Eduardo Navarro's costume from Timeless Alex (2015)

OOO creates some interesting issues when it comes to thinking about art. The default stance of the art viewer looking to read an artwork in terms of its creator’s intentions or psychology, or its place in the historical canon in relation to other works, or its specific materials and concepts, or any other traditional criteria would, to an OOO adherent, be little more than anthropocentric hubris. These modes of thought reduce the object to relations with human viewers, a classic OOO no-no.

Instead, writes Timothy Morton (who stands alongside Harmon as the best-known thinkers in the movement), “an artwork cannot be reduced to its parts or its materials, nor can it be reduced to its creator’s life, nor to some other context, however defined … Art is charisma, pouring out of anything whatsoever, whether we humans consider it to be alive or sentient or not.” For Morton, the normative modes for thinking and talking about art ignore the agency (which he terms charisma) of the art object as well as its status as a thing that stands separate from (and equal to) all others. The charismatic pull he mentions is the art object acting on its viewers, a property he says all objects possess.

SPECULATIVE REALISM IN THE REAL (ART) WORLD: BABY SKIN

Pamela Rosenkranz's Our Product (2015)

In one way of thinking, any artwork from classical sculpture to the latest digital simulation can in some way be used as a proof of concept for this philosophy, insofar as there are no shortage of interpretations one can imagine for the object. That said, however, the whole idea that artworks exist only insofar as they’re available for human viewing and interpretation is entirely opposed to the posthuman perspective OOO promotes. As a result, OOO artworks tend to be more interested in pointing out how objects exist, act, and “live” beyond the realm of human perception, a paradox of sorts given the contrived nature of artworks.

The artist most often associated with these ideas is Pamela Rosenkranz, the young Swiss conceptualist known for her chemically infused performances and installations. Her work Our Product from the 2015 Venice Biennale is a typical example: Rosenkranz covered the Swiss Pavilion’s floor with a mixture of various substances (including silicone, Evian water, and Viagra, among others) to create a liquid imitating what the press release calls “a standardized northern European skin tone,” the same color that the release says is utilized in contemporary advertising as “a proven way to physically enhance attention.”

Combined with the computer-generated sounds of lapping water, an hormonally-enhanced green wall paint, and a smell that somehow mimicked the scent of a newborn baby, the pavilion became a subtle illustration of a central OOO idea—namely, that all objects (themselves made up of myriad other objects) exert their power over the objects around them, creating the push-pull relationship between viewer and artwork that Morton refers to as “charisma.” Ronsenkranz herself comments of her work: “It seems to live, then again, my team and I try not to get it ‘too’ alive… an artwork develops its own kind of audience because of the independence it develops.”

SPECULATIVE REALISM IN THE REAL (ART) WORLD: TRIPPY CRABS

Pierre Huyghe's Zoodrama (2010)

The recent work of Pierre Huyghe is also cited as exemplifying some of OOO thought, with a focus on more animate objects (read: animals) the theory engages with. In works like his Zoodram series, different species of invertebrates coexist in specially designed aquaria, while his free-roaming dog Human has been repeatedly employed for Huyghe’s shows in settings from the Pompidou to LACMA. It's hardly the first time live animals have been used as readymade actors in art, but Huyghe’s presentation seems to highlight the fact that these “objects” exist in realms inaccessible to humans—the museum’s doors close at night, but the crabs don’t seem to care. As Huyghe himself has said of his tanks, “I am interested in the strange relationship and separation between the human and a world. They are not encountering each other.”

What’s more, by framing not just the crustaceans but the entire contents of the tank they inhabit as an artwork (the glass, the water, the bacteria, the excrement—these litanies really are inescapable), Huyghe points to the compounded experiences of his materials, who are both acting on and being acted upon all the other objects in the tank (and beyond). To fully comprehend one of his Zoodrams you must take into account the entire list of components and their interactions, something human observers are generally unequipped to deal with.

Eduardo Navarro works with similar ideas in the opposite direction in his 2015 performance piece Timeless Alex at the New Museum’s “Surround Audience” Triennial. The piece featured the artist crawling into an (artificial) turtle-skin suit and chicken-wire-frame carapace before meditating in an attempt to inhabit the consciousness of the reptile he imitates. Rather than invite viewers to speculate on the lives of other creatures, Navarro makes an avowedly good-faith attempt to enter those lives himself, slowing his breathing and crawling around on all fours to complete the autohypnosis.

His self-reported identification with his subject took him to strange realms; as he’s said in an interview, “When I was doing the performance [I felt] that it wasn’t me trying to transform, but a turtle trying to become human.” The highly personal nature of this experience points yet again to the private lives OOO asserts—whether Navarro really did enter the consciousness of a turtle remains up for debate.

SPECULATIVE REALISM IN THE REAL (ART) WORLD: HOT PECS

Niels Betori Diehl's THE HEAT / scene 2 (2003, bottom screen)

The Berlin-based artist Niels Betori Diehl takes a more abstract approach to the new philosophy in his video work THE HEAT / scene 2 (2003), currently on view in Beijing’s Intelligentsia Gallery’s appropriately titled group show “OOO.” His work illustrates just how fluid the OOO conception of an object can be: Betori Diehl filmed shirtless men on a hot day from his window in Prenzlauer Berg, Berlin, taking the phrase “object of desire” quite literally.

He’s interested in how the combination of their flesh and his (or the viewers) sexual and emotional proclivities combine to form a new object: desire itself. The close-ups of glistening pecs may call pornography to mind, but although there is a similar objectification of bodies going on, the subject of the works is really the new object (desire) created by the interaction of Betori Diehl’s embodied psyche with those of his unknowing subjects.

OOO OPPOSITION

Pierre Huyghe's Zoodrama (2010)

Any new theory or movement is bound to generate some pushback, and OOO is certainly no exception. Critiques from within the art world tend to skip over issues about the validity of these ontological claims—it’s hard to disprove someone who argues that objects have hidden agency that is by its very nature beyond our comprehension—and instead focus on the more human, sociologial issues that repeatedly rear their anthropocentric heads when talking about artworks.

Writing in Artforum, the critic Ben Kafka is clear in establishing what he sees as the fundamental flaw of these systems of thought: “[OOO] almost sounds like a neat idea, until you pause to consider its ethical implications. ‘You’ may indeed get a kick out of comparing yourself to a speck of flea shit or a solar flare. But substitute ‘you’ for pretty much anyone else on the planet and you begin to see how dehumanizing ‘posthumanism’ can be.”

J.J. Charlesworth agrees in a scathing opinion piece in ArtReview, writing, “What speculative realism thinks of as its novel philosophical insights—that humans are no exception to things, that there should be no distinction between human and nonhuman ‘actants,’ and that the subject–object hierarchy in philosophy should be abolished—become the philosophical cheerleaders for a contemporary culture that denounces the idea that human beings can—even should—actively reshape the world in their own interests.” These quotations each tackle the same question: what does it mean for people (some of whom are suffering) when philosophers concern themselves with the travails of inanimate objects?

It's a heady question, and one that gets into issues of ethics. In the words of the critic Barbara Johnson (as quoted by Kafka): “The more I thought about this asymptotic relation between things and persons, the more I realized that the problem is not, as it seems, a desire to treat things as persons, but a difficulty in being sure we treat persons as persons.” It’s exactly this kind of anthropocentric humanism OOO seeks to refute, of course. No wonder artists seeking fresh ideas are drawn to this dizzying mise en abyme of contemporary philosophy.

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In the course of your use of the Site, you may be asked to provide certain information to us. Our use of any information you provide via the Site shall be governed by our Privacy Policy available at here artspace.com/privacy. We urge you to read our Privacy Policy. You acknowledge and agree that you are solely responsible for the accuracy and content of such information.

International Use

We control and operate the Site from our offices in the United States of America, and all information is processed within the United States. We do not represent that materials on the Site are appropriate or available for use in other locations. Persons who choose to access the Site from other locations do so on their own initiative, and are responsible for compliance with local laws, if and to the extent local laws are applicable.

You agree to comply with all applicable laws, rules and regulations in connection with your use of the Site. Without limiting the generality of the foregoing, you agree to comply with all applicable laws regarding the transmission of technical data exported from the United States or the country in which you reside.

Proprietary Rights

As between you and Artspace (or other company whose marks appear on the Site), Artspace (or the respective company) is the owner and/or authorized user of any trademark, registered trademark and/or service mark appearing on the Site, and is the copyright owner or licensee of the Content and/or information on the Site, unless otherwise indicated.

Except as otherwise provided herein, use of the Site does not grant you a license to any Content, features or materials you may access on the Site and you may not modify, rent, lease, loan, sell, distribute or create derivative works of such Content, features or materials, in whole or in part. Any commercial use of the Site is strictly prohibited, except as allowed herein or otherwise approved by us. You may not download or save a copy of any of the Content or screens for any purpose except as otherwise provided by Artspace. If you make use of the Site, other that as provided herein, in doing so you may violate copyright and other laws of the United States, other countries, as well as applicable state laws and may be subject to liability for such unauthorized use. We do not grant any license or other authorization to any user of our trademarks, registered trademarks, service marks, other copyrightable material or any other intellectual property by including them on the Site.

The information on the Site including, without limitation, all site design, text, graphics, interfaces, and the selection and arrangements is protected by law including copyright law.

Product names, logos, designs, titles, graphics, words or phrases may be protected under law as the trademarks, service marks or trade names of Artspace LLC, or other entities. Such trademarks, service marks and trade names may be registered in the United States and internationally.

Without our prior written permission, you agree not to display or use our trademarks, service marks, trade names, other copyrightable material or any other intellectual property in any manner.

Links from and to the Site

You may be able to link to third party websites ("Linked Sites") from the Site. Linked Sites are not, however, reviewed, controlled or examined by us in any way and we are not responsible for the content, availability, advertising, products, information or use of user information or other materials of any such Linked Sites, or any additional links contained therein. These links do not imply our endorsement of or association with the Linked Sites. It is your sole responsibility to comply with the appropriate terms of service of the Linked Sites as well as with any other obligation under copyright, secrecy, defamation, decency, privacy, security and export laws related to the use of such Linked Sites and any content contained thereon. In no event shall we be liable, directly or indirectly, to anyone for any loss or damage arising from or occasioned by the creation or use of the Linked Sites or the information or material accessed through these Linked Sites. You should direct any concerns to that site's administrator or Webmaster. We reserve the exclusive right, at its sole discretion, to add, change, decline or remove, without notice, any feature or link to any of the Linked Sites from the Site and/or introduce different features or links to different users.

Permission must be granted by us for any type of link to the Site. To seek our permission, you may write to us at the address below. We reserve the right, however, to deny any request or rescind any permission granted by us to link through such other type of link, and to require termination of any such link to the Site, at our discretion at any time.

INDEMNITY

You agree to defend, indemnify and hold Artspace LLC, its directors, officers, employees, agents, vendors, partners, contractors, galleries, artists, institutions, distributers, representatives and affiliates harmless from any and all claims, liabilities, damages, costs and expenses, including reasonable attorneys' fees, in any way arising from, related to or in connection with your use of the Site, your violation of any law, your violation of the Terms or the posting or transmission of any User Content, or materials on or through the Site by you, including, but not limited to, any third party claim that any information or materials you provide infringes any third party proprietary right. You agree to cooperate as fully as reasonably required in the defense of any claim. Your indemnification obligation will survive the termination of these Terms and your use of the Site.

DISCLAIMER OF WARRANTIES

YOU UNDERSTAND AND AGREE THAT:

THE SITE, INCLUDING, WITHOUT LIMITATION, ALL CONTENT, FUNCTION, MATERIALS AND SERVICES IS PROVIDED "AS IS," WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION, ANY WARRANTY FOR INFORMATION, DATA, DATA PROCESSING SERVICES OR UNINTERRUPTED ACCESS, ANY WARRANTIES CONCERNING THE AVAILABILITY, ACCURACY, COMPLETENESS, USEFULNESS, OR CONTENT OF INFORMATION, AND ANY WARRANTIES OF TITLE, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. COMPANY DOES NOT WARRANT THAT THE SITE OR THE FUNCTION, CONTENT OR SERVICES MADE AVAILABLE THEREBY WILL BE TIMELY, SECURE, UNINTERRUPTED OR ERROR FREE, OR THAT DEFECTS WILL BE CORRECTED. Artspace MAKES NO WARRANTY THAT THE SITE WILL MEET USERS' EXPECTATIONS OR REQUIREMENTS. NO ADVICE, RESULTS OR INFORMATION, OR MATERIALS WHETHER ORAL OR WRITTEN, OBTAINED BY YOU THROUGH THE SITE SHALL CREATE ANY WARRANTY NOT EXPRESSLY MADE HEREIN. IF YOU ARE DISSATISFIED WITH THE SITE, YOUR SOLE REMEDY IS TO DISCONTINUE USING THE SITE.

ANY MATERIAL DOWNLOADED OR OTHERWISE OBTAINED THROUGH THE USE OF THE SITE IS DONE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGE THAT RESULTS FROM THE DOWNLOAD OF ANY SUCH MATERIAL.

Artspace DOES NOT ENDORSE, WARRANT OR GUARANTEE ANY PRODUCTS OR SERVICES OFFERED OR PROVIDED BY OR ON BEHALF OF THIRD PARTIES ON OR THROUGH THE SITE. Artspace IS NOT A PARTY TO, AND DOES NOT MONITOR, ANY TRANSACTION BETWEEN USERS AND THIRD PARTIES WITHOUT THE DIRECT INVOLVEMENT OF COMPANY.

LIMITATION OF LIABILITY

IN NO EVENT SHALL Artspace, ITS AFFILIATES OR ANY OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, PARTNERS, SUBSIDIARIES, DIVISIONS, SUCCESSORS, SUPPLIERS, DISTRIBUTORS, AFFILIATES VENDORS, CONTRACTORS, GALLERIES, ARTISTS, INSTITUTIONS, REPRESENTATIVES OR CONTENT OR SERVICE PROVIDERS BE LIABLE FOR ANY INDIRECT, SPECIAL, INCIDENTAL, CONSEQUENTIAL, EXEMPLARY OR PUNITIVE DAMAGES ARISING FROM OR DIRECTLY OR INDIRECTLY RELATED TO THE USE OF, OR THE INABILITY TO USE, THE SITE OR THE CONTENT, MATERIALS AND FUNCTION RELATED THERETO, INCLUDING, WITHOUT LIMITATION, LOSS OF REVENUE, OR ANTICIPATED PROFITS, OR LOST BUSINESS, DATA OR SALES, OR COST OF SUBSTITUTE SERVICES, EVEN IF COMPANY OR ITS REPRESENTATIVE OR SUCH INDIVIDUAL HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY SO SOME OF THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU. IN NO EVENT SHALL THE TOTAL LIABILITY OF Artspace TO YOU FOR ALL DAMAGES, LOSSES, AND CAUSES OF ACTION (WHETHER IN CONTRACT OR TORT, INCLUDING, BUT NOT LIMITED TO, NEGLIGENCE OR OTHERWISE) ARISING FROM THE TERMS OR YOUR USE OF THE SITE EXCEED, IN THE AGGREGATE, $100.00. WITHOUT LIMITING THE FOREGOING, IN NO EVENT SHALL Artspace OR ITS RESPECTIVE OFFICERS DIRECTORS, EMPLOYEES, AGENTS, SUCCESSORS, SUBSIDIARIES, DIVISIONS, DISTRIBUTORS, SUPPLIERS, AFFILIATES OR THIRD PARTIES PROVIDING INFORMATION ON THIS SITE HAVE ANY LIABILITY FOR ANY DAMAGES OR LOSSES ARISING OUT OF OR OTHERWISE INCURRED IN CONNECTION WITH THE LOSS OF ANY DATA OR INFORMATION CONTAINED IN YOUR ACCOUNT OR OTHERWISE STORED BY OR ON BEHALF Artspace.

You hereby acknowledge that the preceding paragraph shall apply to all content, merchandise and services available through the Site.

Applicable Law/Jurisdiction

You agree that the laws of the state of New York, excluding its conflicts-of-law rules, shall govern these Terms. Please note that your use of the Site may be subject to other local, state, national, and international laws. You expressly agree that exclusive jurisdiction for resolving any claim or dispute with Artspace relating in any way to your use of the Site resides in the state and federal courts of New York County, New York, and you further agree and expressly consent to the exercise of personal jurisdiction in the state and federal courts of New York County. In addition, you expressly waive any right to a jury trial in any legal proceeding against Artspace its parent, subsidiaries, divisions, or affiliates or their respective officers, directors, employees, agents, or successors under or related to these Terms. Any claim or cause of action you have with respect to use of the Site must be commenced within one (1) year after the claim arises.

Consent to Processing

By providing any personal information to the Site, all users, including without limitation users in the European Union, fully understand and unambiguously consent to the collection and processing of such information in the United States.

Any inquiries concerning these Terms should be directed to us at the address below.

Risk of Loss

The items purchased from our Site are shipped by a third-party carrier pursuant to a shipment contract. As a result, risk of loss and title for such items may pass to you upon our delivery to the carrier.

Purchasing

Artspace and its partners strive for complete accuracy in description and pricing of the products on the Site. However, due to the nature of the internet, occasional glitches, service interruptions or mistakes may cause inaccuracies to appear on the Site. Artspace has the right to void any purchases that display an inaccurate price. If the displayed price is higher than the actual price, you may be refunded the overcharge. If the displayed price is less than the actual price, Artspace will void the purchase and attempt to contact you via either phone or email to inquire if you would like the item for the correct price.

You acknowledge that temporary interruptions in the availability of the Site may occur from time to time as normal events. Also, we may decide to cease making available the Site or any portion of the Site at any time and for any reason. Under no circumstances will Artspace or its suppliers be held liable for any damages due to such interruptions or lack of availability.

Notices

Notices to you may be made via either email or regular mail. The Site may also provide notices of changes to the Terms or other matters by displaying notices or links to notices to you on the Site.

Contests

In the event of a dispute regarding the identity of the person submitting the entry, the entry will be deemed to be submitted by the person in whose name the e-mail account is registered. All drawings will be conducted under the supervision of Sponsor. The decisions of the Sponsors are final and binding in all matters relating to this contest. Sponsors reserve the right, at its sole discretion, to disqualify any individual it finds, in its sole discretion, to be tampering with the entry process or the operation of the Contest or the Website located at www.artspace.com; to be in violation of the Terms of Service of the Website; to be acting in violation of these Official Rules; to be acting in a disruptive manner, or with intent to annoy, abuse, threaten or harass any other person. If for any reason this Contest is not capable of running as planned due to infection by computer virus, bugs, tampering, unauthorized intervention, fraud, technical failures, or any other causes which, in the sole opinion of Sponsor, corrupt or affect the administration, security, fairness, integrity, or proper conduct of this Contests, Sponsor reserve the right to cancel, terminate, modify or suspend the Contest.

Limitations of Liability

SPONSOR DOES NOT ASSUME RESPONSIBILITY FOR ANY ERROR, OMISSION, INTERRUPTION, DELETION, DEFECT, DELAY IN OPERATION OR TRANSMISSION, COMMUNICATIONS LINE FAILURE, THEFT OR DESTRUCTION OR UNAUTHORIZED ACCESS TO ITS WEBSITES. SPONSOR IS NOT RESPONSIBLE FOR ANY PROBLEMS OR TECHNICAL MALFUNCTION OF ANY TELEPHONE NETWORK OR TELEPHONE LINES, COMPUTER ON-LINE SYSTEMS, SERVERS, COMPUTER EQUIPMENT, SOFTWARE, FAILURE OF ANY E-MAIL OR ENTRY TO BE RECEIVED BY SPONSOR ON ACCOUNT OF TECHNICAL PROBLEMS, HUMAN ERROR OR TRAFFIC CONGESTION ON THE INTERNET OR AT ANY WEBSITE, OR ANY COMBINATION THEREOF.
SPONSOR IS NOT RESPONSIBLE FOR ANY INCORRECT OR INACCURATE CAPTURE OF INFORMATION OR THE FAILURE TO CAPTURE SUCH INFORMATION, WHETHER CAUSED BY WEBSITE USERS, TAMPERING OR HACKING, OR BY ANY OF THE EQUIPMENT OR PROGRAMMING ASSOCIATED WITH OR UTILIZED IN THE CONTEST. SPONSOR IS NOT RESPONSIBLE FOR INJURY OR DAMAGE TO PARTICIPANTS’ OR TO ANY OTHER PERSON’S COMPUTER RELATED TO OR RESULTING FROM PARTICIPATING IN THIS CONTEST OR FROM OR USE OF THE WEBSITE.
IN NO EVENT WILL SPONSOR, OR THEIR PARENT COMPANIES, DISTRIBUTORS, AFFILIATES, SUBSIDIARIES, OFFICERS, VENDORS, AND AGENCIES, EACH OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, REPRESENTATIVES AND AGENTS, BE RESPONSIBLE OR LIABLE FOR ANY DAMAGES OR LOSSES OF ANY KIND, INCLUDING DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES ARISING OUT OF YOUR PARTICIPATION IN THIS CONTEST, ACCESS TO AND USE OF THE WEBSITE OR THE DOWNLOADING FROM AND/OR PRINTING MATERIAL DOWNLOADED FROM THE WEBSITE. WITHOUT LIMITING THE FOREGOING, EVERYTHING ON THE WEBSITE AND IN THIS CONTEST IS PROVIDED “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT. SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATIONS OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES OR EXCLUSION OF IMPLIED WARRANTIES SO SOME OF THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. CHECK YOUR LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

Disputes

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.
In the event of a dispute as to the identity of the winner based on an e-mail address, the winning entry will be declared made by the authorized account holder of the e-mail address submitted at time of entry. “Authorized account holder is defined as the natural person who is assigned to an e-mail address by an Internet access provider, on-line service provider or other organization (e.g., business, educational, institution, etc.) that is responsible for assigning e-mail addresses for the domain associated with the submitted e-mail address

Contacting Us

To contact us with any questions or concerns in connection with this Agreement or the Site, or to provide any notice under this Agreement to us please go to Contact Us or write to us at:

General Information

The Terms constitute the entire agreement between you and Artspace and govern your use of the Site, superseding any prior agreements between you and Artspace. You also may be subject to additional terms and conditions that are applicable to certain parts of the Site.

You agree that no joint venture, partnership, employment, or agency relationship exists between Artspace and you as a result of this Agreement or your use of the Site.

Any claim or cause of action you may have with respect to Artspace or the Site must be commenced within one (1) year after the claim or cause of action arose.

Our failure to exercise or enforce any right or provision of the Terms shall not constitute a waiver of such right or provision. If any provision of the Terms is found by a court of competent jurisdiction to be invalid, the parties nevertheless agree that the court should endeavor to give effect to the parties' intentions as reflected in the provision, and the other provisions of the Terms remain in full force and effect.

You may not assign the Terms or any of your rights or obligations under the Terms without our express written consent.

The Terms inure to the benefit of Artspace's successors, assigns and licensees. The section titles in the Terms are for convenience only and have no legal or contractual effect.

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How it Works

How bidding works

To place a bid, enter the maximum amount you are willing to pay for the work. Artspace will accept a bid at the next increment, and save any excess amount as a maximum bid. If you are outbid, we will continue bid on your behalf up to your maximum bid.

Bid Increments

Bidding increments increase at the following intervals:

Below $400: $50

Between $400 and $699: $100

Between $700 and $1,499: $200

Between $1,500 and $2,499: $300

Between $2,500 and $4,999: $500

Between $5,000 and $9,999: $1,000

Between $10,000 and $19,999: $2,000

Between $20,000 and $29,999: $3,000

Between $30,000 and $49,999: $4,000

Between $50,000 and $99,999: $5,000

Above $100,000: $10,000

You will receive an email confirmation of your bid and when you are outbid.

If you are the winning bidder, you will be contacted 48 hours after of the close of the auction.

Maximum Bidding

Every bid submitted is treated as a maximum bid. You should always bid the maximum you are willing to spend for a work, though this does not necessarily mean you will pay that price. As the auction unfolds, we will increase your bid by increments to ensure you remain the highest bidder. If the winning amount is less than your maximum bid, you will pay the current increment. If your maximum bid no longer exceeds the current bid, you will receive an outbid notification email, and have the option to bid again.

In the case of multiple bidders placing the same maximum bid, the first person to place the maximum amount takes precedence as the highest bid until another bidder exceeds the maximum amount.

Buyer's Premium & Additional Charges

For Artspace Auctions winning bidders are charged a 15% Buyer's Premium on top of the hammer price. For Artspace Benefit Auctions, Buyer's Premiums are not applied. If they are, this will be clearly noted. Purchases made from all auctions, including benefit auctions, are subject to sales tax.

Check Out

Winning bidders will be contacted within 48 hours to arrange shipping and to provide final price including commission, shipping, and taxes and duties when applicable. Promotion codes cannot be applied to auction works.

Credit Card Validation

In order to secure a bid, please enter your credit card details below.
We will not charge your card but only use it to validate your bid.
We only need to validate your card once. You will be notified that you are the winning bidder
before your card is charged, and you will have the option to change your payment method at that time.

Frame

All our frames are manufactured in the USA, using eco-friendly & sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

White Satin

Honey Pecan

Black Satin

Mat

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

Acrylic Glazing

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

Dimensions

For images up to 30" x 40"

1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.

We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

You will be redirected to Affirm to provide your information for real-time decision. Choose to pay over 3, 6, or 12 months.*

3

Enjoy your purchase immediately

Complete your purchase in Affirm and you'll be redirected to Artspace to view your order confirmation.

* Subject to credit check and approval. Down payment may be required. For purchases under $100, limited payment options are available. Estimated payment amount excludes taxes and shipping fees. Affirm loans are made by Cross River Bank, a New Jersey-chartered bank, Member FDIC. See www.affirm.com/faqs for details.